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  • October, 17th 2004

    It cost $193 million to create Frederick P. Rose Hall, the formal name for Jazz at Lincoln Center's new home at the Time Warner Center opening tomorrow — $65 million in floor space donated by the building developers and $128 million designing and constructing three performance halls, a recording studio and educational facilities.
    But there's no pricing the view from the Allen Room, an intimate amphitheater for live music and dancing.
    It may take years to judge the acoustical and commercial success of all the Rose Hall performance spaces, with nearly 2,000 seats in all. But no waiting is necessary for your eyes to pop out over the Allen Room.
    Although standing the equivalent of a mere 10 stories above street level, it might be in heaven, so enchanting is the panorama through its 50- foot-high, steel-cable-laced window.
    It's an iconic vista that never existed before, because the old Coliseum on the site had no windows; think of the Allen Room as overdue payback for Robert Moses' monstrosity that stood too long.
    Other public rooms in town offer higher vantage points from which to enjoy the cityscape, including the Time Warner Center's Mandarin Oriental Hotel restaurant and lounge.
    But none comes close to capturing the Allen Room's drama, which evokes a child's vision of Manhattan where skyscrapers appear more heroically scaled between park and sky than an artist could paint.
    Gazing through the window feels like stepping inside a three-dimensional snow globe. Below and to your left, Central Park's treetops seem to merge with the stage.
    Above and to the right, Central Park South's masonry cliffs thunder toward you like the crescendo of a drum solo.
    But your eye races the opposite way, following the facade line east to where the Jazz Age spires of the Pierre and Sherry Netherland hotels announce Fifth Avenue in the distance.

    It's so magical, there's a danger that audiences will come just for the setting at the expense of the music.
    It might never have been — the original plan was for the jazz complex to be set back inside the building, with the floors near the window used to extend the shopping mall.
    But Rose Hall project architect Rafael Viñoly proposed thrusting two of the jazz theaters forward to capture the Columbus Circle sights.
    It gave the musicians a Gershwin-esque backdrop appropriate to jazz, a born-in-America music with strong New York roots.
    It took a constructive give-and-take among Viñoly, Jazz at Lincoln Center Artistic Director Wynton Marsalis, developers the Related Cos. and Apollo Real Estate Advisors to get the job done.
    Building architect David Childs and city planners brought the pieces in the puzzle together.
    Bix, Dizzy and Miles will never know what they missed.
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